Introduction to Boomerang Style
This is the third aspect of Kitsui no Zouheishou, the second stage of separation from one's staff and the commencement of the student's journey towards perfecting a total weapon style. Boomerang Style introduces the concept of staff juggling and involves an extreme sense of timing and foresight in order to craft an unpredictable offense of angles and rebounds. One must learn to volley their staff as if it were a boomerang. Simply put, once the launched Bo strikes the enemy, the initial force applied will send it on a rebound back into its partner's hands or, more commonly, the crook of their foot. As with the Pick-up Stick method, should the Bo fall to the ground for whatever reason, the adept will have discovered by this point that bending down is the least practical means of retrieving the weapon and that it is far more effective to use one's feet. It is even more effective if said retreival becomes an unexpected counterattack by rolling the Bo onto the toes and kicking it into the opponent. Before one can even hope to progress to the Fifth Stage, the completion of two successful volleys in a live sparring situation must be achieved. Students of this stage have now begun to read their opponents' bodies for hints of potential weaknesses. Vulnerable soft spots become unguarded in the face of one who attacks from numerous angles through multiple means of combat. The bodies of Kitsui no Zouheishou practitioners have grown into considerable fighting specimens, lithe and firm with a springy strength akin to that of their Bo. They too are now a weapon and no longer need to rely solely on the staff in hand to successfully land a hit. As confidence in one's movements and ability to control those of their partner-in-crime improves, students will naturally seek to push their acrobatic tendencies further and experiment with more risky and rewarding manoeuvres. All previous Fan techniques have become instinctive for most of these situations while Pillar transitions have grown less abrupt. The student has developed a natural understanding of which surfaces yield the best results and how to optimally disperse weight across the staff while retaining good mobility. Acrobatic Techniques Attack and defence, body and Bo, stationary and dynamic; there is now a balance to Kitsui no Zouheishou. Emphasis no longer lies in dancing around the opponent but in moving with the ebb and flow of the game, advancing as well as retreating and maintaining a penchant for the unexpected. The student will begin to search for their own unique flair within the style and the master will allow their pupil a degree of freedom from the regimented teachings in order to achieve this goal. No-handed cartwheels, backflips and somersaults become common fare and near-instant recoveries from the ground help facilitate the ideal of a body in perpetual motion. Regular Techniques The Forgetful Beggar: Either by dropping the staff or performing a pick-up, the student traps their Bo in the space between the two opposing pressures of one foot's crook and the other's heel. Flicking their feet in opposite directions and tucking in their legs will result in a horizontal rotation to trip the opponent or catch them with a feint and reverse the Bo's direction mid-spin. This is an excellent move for dispatching a mob of adversaries or simply hammering a single foe with a continuous juggle. Beggar's Lucky Coin: If thrown to ground but still within a leg's reach of the staff, the adept performs a pick-up from lying down and transitions directly into a recovery. This particular recovery follows the staple movements of a reverse coin drop, swinging one straight leg diagonally across their body and over their shoulders, following through with the second leg and pushing with the hands to find their feet (or delaying the moment of recovery with an added handstand twist for style). However, with the Bo balancing on the leading foot, the 'Beggar' can protect himself and so once his weight has shifted to the shoulders and hands, the secondary leg can snap round to spin the staff as in the previous technique until he lands firmly on both feet. Heavenly Climb: The achievement of this technique represents a critical step in the progression of the Kitsui no Zouheishou disciple, combining heightened spatial awareness with precise acrobatic pacing and the control required to perform a double volley with the feet even when the Bo is out of sight. Flicking the staff into the opponent's midsection, the adept leaps into the air with the other leg which then swings forward to make the rebound volley with an even greater force so that they might flip backwards and catch the staff with both hands on its return trip. Notes Armed with the knowledge of the incredible possibilities which have begun to dance at their fingertips, the student of Kitsui no Zouheishou will take the time between stages to master each of the lessons provided by their sensei thus far. Above all else, it is essential that the movements become not only second but first nature to them, intrinsically linked to their body's internal rhythm. Many have reached this point but been unable to take the art form further due to a mental block. It is one thing to know what it is they must be able to do and remember the motions, but another entirely to realize that they have already internalized the teachings and that the Arsenal has ceased to exist as a combat style, instead becoming a way of life. From this platform they can begin anew, discarding their training staff and receiving permission to bear a full 6' Bo. Most will choose to craft their own weapon due to the personal connection the two beings will come to share, and time is taken to familiarize oneself with their partner's new capabilities. It is not uncommon to see the introduction of metal poles for the improved durability they afford; the wielder will know what works best with their individual style. Category:Kitsui no Zouheishou